Parody Art
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All of these words are used to describe a work of art that is in some way copied or borrowed in part – and mocked to a certain extent. Determine which word best suits your own work of art. I have selected parody for my "Venus Rising." If I changed the title to "Homage to Botticelli" – then it may be homage as well. Below are three activities that should be fun to do... ONLY select one for your homework assignment. You may do the other ones in your spare time.
Parody - A work that imitates the characteristic style of another work, either for comic effect or ridicule. Parody is one of the basic tropes. Also see appropriation, content, caricature, homage, and satire. See ArtLex for more.
Pastiche - A work of art made in admitted imitation of several style of other works. A composition of incongruous parts; a hodgepodge or pasticcio. Often a pastiche is made in order to ridicule the style of the artist it imitates. Also see appropriation. (pr. pass-teesh')
Satire - Irony, sarcasm, or derisive wit used to attack or expose vice, folly, or stupidity. Caricatures are commonly satirical whenever they are critical. http://www.artlex.com/ArtLex/S.html
Homage - Special acknowledgment or respect shown or expressed publicly to persons whose influence an artist wishes to honor. http://www.artlex.com/ArtLex
1. Mona Lisa and Ahmet Kurt present 20 periods in Art History
Here are the images - [Archive]
"The Essential Guide to the History of Painting" With the help of some graphic programs Mr. Kurt has re-worked Leonardo da Vinci´s Mona Lisa according to epochs and styles in the pictorial art.
For this homework assignment, select six Mona Lisa Parody’s that interest you (form this site). Find a work of art from an artist that is listed for that time period that relates to the image Kurt has done of Mona Lisa (give Web address OR book title where you found the image). Country of origin? When was the work painted?
For example: Art of Perspective 1450 – 1500, Botticelli’s Birth of Venus (Italian c. 1485-86) (http://www.ibiblio.org/wm/paint/auth/botticelli/)
This site shows cat portraits in the style of six different artists. For this assignment, find a painting by each artist that is similar to the cat portrait. Give the name of the painting, when it was painted and describe how the cat portrait is similar (or a parody). From what nationality is each artist?
3. "History of Art as Told by the Blue Man Group" http://www.blueman.com/about_bmg/art.shtml (Archive)
Select six of the works shown on the Blue Man Group Web site. Find the original created by the artist and list Web page address. When was the original work created? What nationality is the artist?
Example from the first work parodied: The Gleaner by Millet - painted in France - 1857 http://www.usc.edu/schools/annenberg/asc/projects/comm544/library/images/110.html
"American Gothic Parody" (Archive) - More images can be found online with a search for American Gothic Parody).
More Art Parody can be found on the Internet by Entering "Art Spoofs" in your search engine (be careful – some images may be objectionable for students)
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With ‘American Gothic’ in the UK for the first time, we take a look at some of the other iconic works that have attracted moustaches, Muppets and other mimicry across art history.
How is it that a squirrel reaching for a walnut can summon the Sistine Chapel? That a rubber duck can sit in for one of the most famous girls in art history, and be recognised by its pearl earring? Two hands and a mouth is The Scream. Two people and a pitchfork is American Gothic. Somehow, these works have crossed any boundaries of art and become everyday references, dotted across our screens, novels, and newspapers – copied and celebrated and mocked again and again and again. Sometimes, of course, it’s an artist remaking the work; revisiting past masters is what art history is made of. But there’s also the Photoshopper, the political cartoonist, the Simpsons storyboard artist. It’s those jokers mischievously swiping the work from its art context and putting it in another one to say something new. Of course, what exactly it is that’s being said shifts with each new parody – and what elusive qualities make a work capable of that transcendent, superstar status in the first place? The Cookie Monster’s guess is as good as ours.
This portrayal of an Iowan farmer and his daughter (actually posed by Grant Wood’s sister and his dentist) is surely among the world’s most referenced art works, captivating viewers since Wood painted it in 1930. Ever since then, they’ve wrestled with the question – was Grant Wood satirising these serious, plain-living country folk or celebrating them? What is he saying about life in rural, post-war depression-era America? It’s not something that Wood ever answered outright. That ambiguity and those enigmatic stares have opened the (Gothic-style) door to a century’s worth of debate and a whole lot of parodies, with everyone from Kim Kardashian to Chewbacca to Amy Schumer to Donald Trump taking their place in this politically charged icon of a nation.
Friends of American Art Collection 1930.934/The Art Institute of Chicago.
Cover of 'Out' magazine, Feb-March 1994
'A real piece of work comes to London', by Adams cartoons. Published in The Telegraph, 22 February 2017.
Adams cartoon / The Telegraph Feb. 2017 © Telegraph Media Group Limited 2017
American Gothique, after Grant Wood, from 'Miss Piggy's Treasury of Art Masterpieces from the Kermitage Collection', co-edited by Michael K. Frith
By the time Duchamp doodled a moustache onto a postcard of the Mona Lisa in 1919, Leonardo’s portrait had already reached superstar status, with a vast number of prints in circulation. Even in the 16th century, artists were copying and admiring the softness of this enigmatic half-length portrait, her ambiguous expression and her otherworldly backdrop. The painting’s celebrity was also boosted by a high-profile theft from the Louvre in 1911, when Paris police circulated 6,500 images of the painting and in which Picasso was one of the first suspects. It turned out that she was snatched overnight by the Louvre’s painter and decorator, Vincenzo Perruggia, and was returned to the Louvre two years later. Since then, everyone from Kristen Stewart to Beyoncé and Nicole Scherzinger have sat in for La Gioconda, as she is known (the sitter is thought to be Lisa Gherardini, the wife of a Florentine cloth merchant named Francesco del Giocondo).
Leonardo da Vinci, La Joconde, portrait de Mona Lisa, c.1505.
Oil on wood. 77 x 53 cm. Photo (C) RMN-Grand Palais (musée du Louvre) / Michel Urtado.
Monica Lewinsky as 'Woman of the Year', by Dean Rohrer for The New Yorker, 8 February 1999
From ‘Miss Piggy’s Treasury of Art Masterpieces from the Kermitage Collection’, by Michael K. Frith
Mona Liesel (Vin Diesel after La Gioconda)
will.i.am, ‘Mona Lisa Smile’ ft. Nicole Scherzinger
One of the most famous graphic images in the world, Hokusai’s The Great Wave was issued widely as a woodblock print and quickly caught the attention of collectors in Europe, later influencing artists including Whistler, Monet and Van Gogh. The print is one of Hokusai’s 36 views of Mount Fuji, Japan’s tallest mountain, but in this image the mountain is remote and comically small, eclipsed by the colossal wave. Scarily dwarfing the rowboats, the arching wave feels almost anthropomorphic – and works surprisingly well reimagined as the Cookie Monster. Many other helpless characters have also been plunged into its tumultuous waters over the years, including the pokémon Gyarados and the minimal techno producer Richie Hawtin.
Katsushika Hokusai, Kanagawa oki Nami ura (The Great Wave at Kanagawa), c.1830-32.
Polychrome woodblock print; ink and colour on paper. 25.7 x 37.9 cm. Image copyright The Metropolitan Museum of Art/Art Resource/Scala, Firenze.
Alain Bousquet, The Great Wave Motherboard.
© Alain Bousquet, alain-bousquet.com.
'GOP and the tide of public opinion', by Daryl Cagle, 2013. Cartoon in response to the Republican National Committee's unanimous resolution to uphold the definition of marriage as between one man and one woman, April 2013.
Sonny Malhotra, Sea is for Cookie, 2013.
Credit Sonny Malhotra, www.sonnymalhotra.com.
A shocking display of female nudity in the 15th century, Botticelli’s Birth of Venus is often regarded as the foot in the door to modernity – or at least to modern depictions of feminine beauty. The life-size painting depicts the point in Ovid’s Metamorphoses when Venus emerges from the sea as a fully formed, fully naked adult, drifting to her place on land as the goddess of love and beauty. Too risqué for public viewing, this coy full-frontal spent its first few decades behind closed doors, and only really claimed its rightful place in art history four centuries later, when the Pre-Raphaelite brotherhood instigated a major rethink of Botticelli’s works. Since then, it has informed ideas of the female nude – and has inspired imitation from some other lovers of the limelight (ahem, Miss Piggy).
Sandro Botticelli, The Birth of Venus, 1482-85.
Tempera on canvas. 172.5 cm × 278.9 cm. Courtesy Uffizi Gallery, Florence.
The Birth of You Know Who, after Sandro Botticelli
From ‘Miss Piggy’s Treasury of Art Masterpieces from the Kermitage Collection’, by Michael K. Frith
Fat Cat Art (after Botticelli), The Purr of Venus.
© Fat Cat Art, St Petersburg. FatCatArt.com.
'Venus on the Beach', by Roz Chast for The New Yorker, 4 August 2014
Painted in the late 15th century, Leonardo’s style of representation for this eminent biblical scene – Christ’s breaking of bread with his disciples – was innovative in its time. Unlike the static images that preceded it, this Last Supper is alive with the spontaneity of conversation and gesture. And yet those gestures are so carefully and creatively composed that parodies need only reference a few of them to conjure the masterpiece, which is constructed with almost mathematical precision and Leonardo’s acute interest in the movement of bodies. These days, everyone from Kendrick Lamar to Gordon Ramsay and a gang of celebrity chefs to grime artist Stormzy have had last suppers – and of course, it’s a go-to fancy dress costume for any art-loving group.
Giampietrino (1549-?), The Last Supper, c.1520.
Oil on canvas. 302 x 785 cm. Photograph © Royal Academy of Arts, London. Photographer: Prudence Cuming Associates Limited.
Bronwyn Lundberg, Lesbian Last Supper. L-R: Jane Lynch, Sandra Bernhard, Rachel Maddow, Linda Perry, Shane McCutcheon as Judas, Portria de Rossi, Ellen Degeneres, Heather Matarazzo, Wanda Sykes, KD Lang, Lily Tomlin, Melissa Etheridge, and Rosie O'Donnell, 2012.
© Bronwyn Lundberg, bronwynlundberg.com.
Album artwork for Stormzy, 'Gang Signs and Prayer', 2017
Frida Kahlo, The Wounded Table (replica), original painted 1939-40.
Painting oil on canvas. Replica licensed to Kunstmuseum Gehrke-Remund, Germany by © Banco de México Diego Rivera & Frida Kahlo Museums Trust / VG Bild-Kunst, Bonn 2008. Photograph: © 2013 Kunstmuseum Gehrke-Remund, Baden-Baden, Germany..
In 1881, 200 years after it was made, this work sold at auction for the bargain price of two guilders and 30 cents (the equivalent of around €24). And yet today it is the poster image for The Hague’s Mauritshuis Museu and famous worldwide – sometimes referred to as the Dutch Mona Lisa. Surprisingly little is known about the painting, but it’s thought that Girl with a Pearl Earring is not a portrait but a “tronie” – a representation of a type of person; here, an exotic character. That the girl is not thought to be based on a real person hasn’t deterred the storytellers, of course; Tracy Chevalier’s 1999 best-selling novel is one of the most famous interpretations of the Girl’s story, and was subsequently made into a film starring Scarlett Johansson and Colin Firth. As well as cavorting with Colin, Vermeer’s exotic girl has modelled for Banksy, appearing in Girl with a Pierced Eardrum. She can also be found in the Mauritshuis’s own gift shop, in the form of this lovely rubber ducky with pearl earring.
Johannes Vermeer, Meisje met de parel (Girl with a Pearl Earring), c.1665.
Part of collection Mauritshuis, The Hague.
Girl with a pearl earring takes a selfie
Credit Mitchell Grafton, Panama City, Florida
Copyright David Barton / limp fish. limpfish.com
A rubber duck with a pearl earring, from the Mauritshuis art museum, the Netherlands
Courtesy of the Mauritshuis. www.mauritshuis.nl/en/
Perhaps the second most famous painting in the world, Munch’s emotive wail has captured our collective imagination over the past 100 years – that ambiguous, androgynous central figure seeming to convey some sort of universal human experience. In fact, it’s often thought to be a self-portrait; the Norwegian artist described his inspiration in a diary entry in 1892: “suddenly the sky turned a bloody red. I stopped, leaned against the railing, tired to death – as the flaming skies hung like blood and sword over the blue-black fjord and the city… I stood there trembling with anxiety – and I felt a vast infinite scream through nature”. The resulting scream – or screams; Munch made four versions in his lifetime – has echoed down the decades, becoming the go-to representation of horror across the arts and the media. You’ll find references in the work of Andy Warhol, the novels of Philip K. Dick – and of course, in 1996’s slasher film Scream, as the “Ghostface” mask. Slightly less fearsome is Macauley Culkin on the Home Alone poster – and indeed, the scream emoji.
Photo: Nasjonalmuseet, National Museum of Art, Architecture and Design, Oslo.
Cartoon for MAD Magazine by Hermann Mejia. From 'The 50 Worst Things About America', #515, June 2012.
Courtesy of the artist and MAD Magazine
'Donald Trump inauguration (apologies to Munch)', by Peter Brookes, 20 January 2017. Published in The Times,
Ida Frosk, The Scream (after Edvard Munch).
Rodin conceived of The Thinker as a smaller figure to sit atop his haunting 1880 sculpture, The Gates of Hell, depicting a scene from Dante’s Inferno. The thinking figure initially represented author Dante, shown nude, head in hands, hopelessly contemplating the despair of the lost souls surrounding him. Rodin later created a separate statue, first called Poet and later known as The Thinker, which no longer represented Dante but embodied all mankind. As well as having been re-cast numerous times around the world, The Thinker can be found across pop culture in countless sizes and guises. Among those contemplating their existence are Mickey Mouse, Peter Griffin and a rather pensive elephant.
Auguste Rodin, Le Penseur (The Thinker), 1903.
Bronze. 189 (h) x 98 (w) x 145 (d) cm. © Agence photographique du musée Rodin - Jérôme Manoukian.
Andrew Lipson, Rodin's Thinker in LEGO®.
© A. Lipson 2001. andrewlipson.com.
Street art seen in San Francisco, May 2010
Clay Bennett, 'The Republican Revolt', cartoon for the Chattanooga Times Free Press, 2012.
Clay Bennett Editorial Cartoon used with the permission of Clay Bennett, the Washington Post Writers Group and the Cartoonist Group. The cartoon appeared originally in the Chattanooga Times Free Press. All rights reserved.
The whirling panorama of Van Gogh’s Starry Night was painted as much from imagination as from the view from the artist’s window in his asylum in Saint-Rémy. In 1888, the artist wrote in a letter that “the night sky is much more alive and richly coloured than the day,” a feeling expressed in his characteristic heavy brushstrokes, loose colour palette and abandon of realistic form. He would paint the view 21 times during his stay – but it’s this one that has inspired generations of dreamers and mimics, including Woody Allen, with everyone from Batman to Pac Man making an appearance under that starry sky.
Vincent van Gogh, Starry Night, 1889.
© The Museum of Modern Art, New York/Scala, Firenze.
Karen Lechtenberg, Starry Night at Hogwarts.
KAMonkey, The Tardis in the Starry Night.
Courtesy of the artist, kamonkeyart.tumblr.com.
'Midnight in Paris' film poster. Directed by Woody Allen.
Image courtesy of Sony Pictures Classics
Within months of being painted, Hopper’s Nighthawks was a hit: bought by the Art Institute of Chicago, where it still hangs, it became one of the artist’s most renowned works. Hopper once suggested that the all-night diner visited by these “nighthawks” – the three customers perched silently at the bar – was inspired by a restaurant in New York’s Greenwich Avenue, but it’s thought to be largely imaginary, a generalisation of the average American diner in 1942. Hopper acknowledged the sense of isolation so many find in his paintings – but denied that he’d put it there deliberately: “unconsciously, probably, I was painting the loneliness of a large city”. Naturally, the illustrative scene has been reinvented as everybody’s late night local, whether a Starbucks, McDonalds, or a bar on an unsinkable ship, frequented by the Muppets, the Cat in the Hat, Batman at the end of a busy night in Gotham, or erm, hawks.
Oil on canvas. 84.1 x 152.4 cm. The Art Institute of Chicago, Friends of American Art Collection, 1942.51. © 2017. The Art Institute of Chicago / Art Resource, NY/ Scala, Florence.
Gottfried Helnwein, Boulevard of Broken Dreams (Nighthawks), 1984.
Watercolour on cardboard. Courtesy of Studio Helnwein.
Josh Ellingson, Wi-Fi Diner (originally produced for Wired Magazine), 2004.
Front cover of 'Army@Love: The Art of War #2', published 2 November 2008
Credits: Rick Veitch and Gary Erskine
…with Boris Johnson, Michael Jackson, and Frankenstein standing in for the movie star.
…with a flying spaghetti monster or a squirrel in the place of God, or the miraculous creation of Neil Patrick Harris, as watched over by RuPaul.
America after the Fall: Painting in the 1930s, The Sackler Wing, Royal Academy of Arts, London, until 4 June 2017.
Within the RA’s Collection Gallery is a full-size copy of Leonardo da Vinci’s ‘Last Supper’, painted by one or more of his pupils. What can it tell us about the original masterpiece?
With the work of contemporary artist Bill Viola on show alongside works by Michelangelo, the exhibition’s co-curator imagines what the Renaissance master might have had to say about it, in a fictional letter to his nephew…
We asked four writers to respond to key themes in ‘Bill Viola / Michelangelo’. On the subject of birth, art historian Ingrid Rowland reveals how both artists confront the particular and the universal in the cycle of life.
From the genius of the Renaissance to immersive new work created specially for our galleries, next year’s exhibitions promise to exhilarate and inspire. The RA’s Artistic Director, Tim Marlow, introduces our packed programme for 201
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Art Parody: Mocking Art
10 of the most parodied artworks ... - Royal Academy of Arts
Parody Art | Fine Art America
Parody Art Stock Photos, Pictures & Royalty-Free Images ...
Parody art | Etsy
The Art of Parody: Imitation With a Twist | The Artifice
IAmParodyArt.com (970) 300-1833 – Bucket Art
Collections – Parody Art Prints
Parody Art
